Wilhelm Matthies explains his technical approach to «Passage»:

To record this album, I used an RME UCX as the audio interface with all pieces in general.

I used two AKG C 2000B microphones recording in stereo in pieces 1-3 and two Earthworks QTC30 microphones recorded in stereo for pieces 4 and 5.

The RME UCX was connected into my DAW, Logic Pro 9. I recorded in several ways.

In most pieces I recorded dry, but in some I recorded with a reverb turned on. In most pieces I played without adding EQ first. When using any EQ or reverb while recording, it was Logic Pro effects, not from the RME UXC.

Mostly I add EQ and reverb after recording. I only did slight imaging panning in some pieces, so no panning, only global panning to more or less locate the instrument in the center of the aural space. Some pieces are slightly to one side, I notice as I am hearing the passage (for X) 2.

For reverb I used two tracks consistently. I use a small room reverb at a higher volume level and a larger hall reverb at a much lower volume level. No two pieces have the same proportions, I mixed specifically for each one.

The two tracks are balanced to be as loud as possible at their peak level without clipping. I did not use any dynamic limiter, to maximize the dynamic range of all of the pieces. The quiet passages are equally important as quiet as the louder ones are played loud.

All the remaining magic is done during the mastering process by Weldroid.

Sorry about the heater clacking noises in some places, and I heard a train passing at the end of the 2nd piece, but then again, it is real! I will create some window barriers this summer. I have deep windows into which I could stuff sound absorbing material :-)

it has been a year since weldroid published his second tonAtom release “amateur”. the feedback was extremely positive, leading to two nominations for the schallwelle award. and in the meantime weldroid contributed to several releases here at tonAtom and elsewhere.

it’s spring again and we are proud to see weldroid’s “protozorq” on tonAtom, a release consisting of ten shiny synthetic gems, with seven of them being new original tracks and three remixes by selected artists.
there is a clear line in the works of weldroid leading from his earlier releases on kahvi to this fresh selection of his audio creatures. this time everything seems to be tainted with a slightly darker shadow, with more beats but the same distinctive weldroid atmosphere nonetheless.. and you won’t be missing his characteristic combination of big screen sounds with 8bit-ish textures and agitated rhythms and loops.
three remixes add new colours and aspects, contributed by his long-time collaborator “wolandroid”, by the upcoming french artist “machinophile” and for “AN MOKU”, known to the tonAtom audience as one half of the duo “nation of clang”.

“protozorq” is a refinement of the weldroid sound for 2013 and beyond, suitable for “already fans” and “soon-to-be fans”.

Sweden based – Electronic Musician, Sound Sculptor, Remixer, Mastering Engineer and Coffee Brewer – Tamás aka Weldroid is the great 8-bit emulation of an electrical engineer, a cgi artist and a coffee connoisseur merged into one person and left alone in the middle of a forest in the middle of a forgotten peninsula built of discarded and ancient electronic devices and lots of copper wire. Some say he once had a prototype that lived in Hungary and actually talked to real people, but that rumor is not very easy to verify….